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Beethovens Ninth Symphony, 4th movement

Form scheme 4th movement

In the 4th movement of Beethoven's 9th symphony Beethoven's own words "Music can express more than all philosophy" have been fully justified.

bars 1-7

The movement opens with a violent dissonance, with the exclusion of all strings. It seems as if a decision had to be reached. This chord of dissonance becomes the fanfare for the words "O friends, not these sounds". Thus the way to the main theme of the movement, the "Song of Joy" theme, has been prepared even before the first appearance of the human voice.

bars 8-16

The instrumental recitative is carried by double bass and celli. It anticipates the melody of the ensuing text "O friends, not these sounds". In his sketches for the 4th movement Beethoven himself commented on the instrumental recitative: "No, this would remind us of our desperate condition."

bars 16-25

The fanfare - a second fortissimo outburst of the orchestra, again without strings, interrupts the recitative.

bars 25-30

Double bass and celli continue the theme "O friends, not these sounds". Reminiscences creep in, represented by the main themes of the 3 preceding movements. They are wiped out by the reappearance of the instrumental recitative. The vivace theme of the 2nd movement sounds up in 3/4 time. The recitative theme interrupts the reminiscence once again. The theme of the 3rd movement conjures up a mood of comfort, quietude, remoteness and faith. Imperceptibly the recitative theme reappears, increases in power and ends with the melody of "let us tune our voices more joyfully". These reminiscences guide us through various keys and moods. Suddenly oboe, clarinet and bassoon intune a new theme in D major. D major is the key which is always used in music to characterise the common people, and so the level has has been set on which the last movement is unfolding. The theme is the head of the "joy theme". The recitative supersedes the head of the "joy theme". The final bars are now identical with the melody of "more joyful sounds".

bars 92-115

In piano, almost mysteriously and unisono in double bass and cello, the main theme is announced, the 24-bar joy theme. It is one of the most famous melodies that Beethoven has ever created. The tonal range is narrow. The first 4 bars remain within a five-tone scope of the D major scale, the next 4 bars are an almost identical repetition, only the 8th bar is lower by a second. Thus the theme closes on the root, D. The continuation remains within the same 5-tone scope, there is just a sixth in bar 12, leading back to the first 4 bars. Bars 9-16 are repeated, the 24th bar ends on the root (like bar 8).

bars 115-139

Viola and cello take up the theme, countersubjects replying.

bars 140-163

On its third reappearance the joy theme is transferred into the 1st violin. The contrapuntal voices gain in density.

bars 164-187

On the fourth reappearance of the theme the whole orchestra joins the hymn in D major. A powerful pendant, shaped from a main theme motif follows this fourfold statement of the joy theme. The fanfare from the beginning, this time in D minor, resounds in all instruments of the orchestra. For the first time the human voice can be heard - a baritone solo recitative with the words: "O friends, not these sounds; let us tune our voices more acceptably and more joyfully." In the orchestra the joy theme is intoned, choir and baritone soloist alternate in their exclamations "joy". The main theme is now led from the instruments to the human voice. The baritone soloist first introduces Schiller's text:"Joy, thou shining spark of God, Daughter of Elysium!" The chorus - the symbol of mankind - sings the second part of the 1st stanza, closing with a short codetta. The 2nd stanza, "Let the man who has had the fortune" is opened by the quartet of soloists. Similar to the 1st stanza, the second part is taken up by the chorus: "Yes, even if he holds but one soul as his own in all the world" and continued. In the 1st variation of the joy-theme, presented by the quartet of the soloists, Schiller's words "All the world's creatures draw draughts of joy from Nature's breast" are set to music. In passionate enthusiasm the jubilation reaches an overwhelming, grandiose climax: "... and the cherub dwells with God". Chorus and orchestra act in fortissimo, the fermate final chord is not in the expected D major but in F major and thus forms a transition to the next section. The 2nd variation in B-flat major is march-like - double bassoon, bassoon and bass drum sound the root, B flat, the modified main theme is accompanied by the brass, i.e. bass drum, cymbals and triangle. The tenor soloist adds a further voice to this variation, based on the text "Joyous as his suns speed ...." The men's chorus enters the scene, the tenor voices are split in first and second tenor. The 3rd variation, composed as a double fugato, is based on a subject derived from the main theme which is accompanied by a contrasting subject in eighth notes. This is the instrumental climax of the work. A pendant closes on a unison F sharp. In the transition to the 4th variation two horns play the F sharp in octaves, interrupted by the first 2 bars of the main theme, first in B major, then in B minor.

bars 543-594

In the 4th variation the joy-theme is repeated in the jubilation of the 1st stanza. The chorus as a symbol of mankind joins into the full acclamation of the theme.

bars 594-610

The bridge, with the verse "Be embraced, all ye millions", accompanied by trombone and bass voices, plays an essential part of symphonic structure, i.e. the introduction of a second theme to preserve the thematic dualism. The men's chorus, supported by celli, tenor trombone, double bass and bass trumpet, sings of the stars where a loving Father is dwelling. The infinity of the universe is hinted at in the 2nd theme of the bridge group: "Do you kneel before him, millions? He must dwell beyond the stars." Totally turned to the world beyond is the onomatopeic, gripping pianissimo passage: "He must dwell beyond the stars." The crowning culmination is the double fugue, shaped from the joy-theme and the brotherhood theme from the bridge, which now sound up simultaneously. The principle of a double fugue is distinctly recognizable. The first appearance (dux) on the tonic D is followed by the 2nd on the dominant A (comes), the 3rd and the 4th appearance are again on tonic and dominant. After 4 restatements of the theme the fugue is freely elaborated. "You kneel down before him, millions" is a passage that hints at a distant future of musical development. If all the tones sounding at the same time were written down, one would almost have a twelve-tone scale, just B flat is missing. An enormous Coda, corresponding to the dimensions of the symphony, closes the work. The Coda starts with an Allegro subject derived from the joy-theme. The quartet of the soloists begins its final jubilation, joined by the chorus. In fortissimo they acclaim "All men will become brothers". To enable further rises Beethoven turns down the volume and speed in a "poco adagio". The original speed woodwind and horns carry on the Coda with the motif "Your magic reunites". The chorus is supported by the 4 soloists. A mood of solemn devotion descends at the announcement "Under your protective wing". All the soloists have to sing difficult melisms. (By melism we mean melodic elements which are only sung on one syllable.)

bars 843-879

The prestissimo passage of the Coda develops from pianissimo to unfettered fortissimo. The message of humanity and universal love is announced to mankind in ecstatic jubilation.

bars 880-903

The idea of universal brotherhood and the message which found its musical realisation in the 9th symphony is best expressed at this point. Since the first performance of the work in 1824 this idea has remained as topical as ever.

bars 920-935

The orchestra, without the chorus, closes the work in D major.